Abrsm Grade 8 Aural
ABRSM GRADE 8 AURAL
Baroque
Style: Use of sequence (2 parts), no dynamic contrast/terrace dynamic, limited range of keyboards, use of ornaments, simple harmony, non-legato
Texture: Homophonic (Melody against melody)
Classical
Style: Simple harmony, regular phrase length with cadence, graceful melody, use of scaly passage, gentle dynamic shaping
Texture: Melody against accompaniment
Romantic
Style: Rubato playing, use of sustaining pedal, cantabile melody, chromatic harmony/rich harmony, wide dynamic range
Texture:
20TH Century
Style: Use of dissonant, crashing harmony, sudden change, syncopated rhythm, wide dynamic range, no define key, irregular phrase, use of cluster chord
Texture:
Jazz
Style: Bluesy melody, call and response between melody and accompaniment, crashing chord
Texture:
Section A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). (ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). Before the first playing, the examiner will play the key-chord. (iii) To identify the three
Baroque
Style: Use of sequence (2 parts), no dynamic contrast/terrace dynamic, limited range of keyboards, use of ornaments, simple harmony, non-legato
Texture: Homophonic (Melody against melody)
Classical
Style: Simple harmony, regular phrase length with cadence, graceful melody, use of scaly passage, gentle dynamic shaping
Texture: Melody against accompaniment
Romantic
Style: Rubato playing, use of sustaining pedal, cantabile melody, chromatic harmony/rich harmony, wide dynamic range
Texture:
20TH Century
Style: Use of dissonant, crashing harmony, sudden change, syncopated rhythm, wide dynamic range, no define key, irregular phrase, use of cluster chord
Texture:
Jazz
Style: Bluesy melody, call and response between melody and accompaniment, crashing chord
Texture:
Section A (i) To sing or play from memory the lowest part of a three-part phrase played twice by the examiner. The lowest part will be within the range of an octave, in a major or minor key with up to three sharps or flats. First the examiner will play the key-chord and the starting note and then count in two bars. (If the candidate chooses to play, the examiner will also name the key-chord and the starting note, as appropriate for the instrument.) If necessary, the examiner will play the phrase again and allow a second attempt (although this will affect the assessment). (ii) To identify the cadence at the end of a continuing phrase as perfect, imperfect, interrupted or plagal. The phrase will be in a major or minor key and will be played twice by the examiner. The chords forming the cadence will be limited to the tonic (root position, first or second inversions), supertonic (root position or first inversion), subdominant (root position), dominant (root position, first or second inversions), dominant seventh (root position) or submediant (root position). Before the first playing, the examiner will play the key-chord. (iii) To identify the three